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SALE NUMBER 1483 


ON PUBLIC EXHIBITION FROM THURSDAY, APRIL FIRST 


ILLUSTRATED CATALOGUE 
Oi. ine 


VALUABLE PAINTINGS 


AND TWO IMPORTANT 


fae POL RIES 


COLLECTED BY 


Mee, F. DIF TERICH 


963 FIFTH AVENUE 
NEW YORK 


TO BE SOLD BY HIS ORDER 
THURSDAY AND FRIDAY EVENINGS, APRIL 8 AND 9 
A005 °O.CLOCK 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Present} 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


1920 


C.F. DIETERICH 
2 RECTOR STREET 
NEW YORK 


January 3rd, 1920 


Mr. Mitchell Kennerley, Prest., 
Anderson Galleries, 
New York City. 


Dear Sir:s- 


On account of death in 


my family, I have decided to give up 


my town residence, and am sending to 
your galleries my Collection of Paint-e 
ings and Tapestries to be sold at 
auction. 

I have been buying 
pictures for nearly forty years and 
only stopped when every inch of wall 
space, in the rooms, the halls and 
stairway in my house 963 Fifth Avenue, 
was covered. This condition was 


reached about fifteen years ago, since 


then, I have not bought a picture. 
Many of the paintings were bought at 
well-known public sales in New York, 
and others at private sales, and many 
while traveling in Europe. I was 
guided by a desire to obtain what was 
beautiful in art and not merely by 
well known namese 

These pictures have been my 


joy and pride while owmed by me, they 


are sent to you knowing that they will 
find other owners who will receive as 


much pleasure from them as I havee 


I shall miss the paintings, but must 
decide between storing or selling, as 
I cannot take them to my country home. 


Sincerely, 


CPt q 


v1 


CONDITIONS OF SALE 


All bids to be PER Lot as numbered in the Catalogue. 


The highest bidder to be the buyer. In all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the 
good faith of all claims and his decision shall be final. 


Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots 
purchased to be immediately resold. 


Purchases to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder 
of the purchase money to be paid on or before delivery, in default of 
which The Anderson Galleries, Incorporated, will not be responsible if 
the lot or lots be lost, stolen, damaged, or destroyed, but they will be 
left at the sole risk of the purchaser, and subject to storage charges. 


To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 


All lots will be exposed for public exhibition in The Anderson Gal- 
leries before the date of sale, for examination by intending purchasers, 
and The Anderson Galleries, Incorporated, will not be responsible for the 
correctness of the description, authenticity, genuineness, or for any defect 
or fault in or concerning any lot, and makes no warranty whatever, but 
will sell each lot exactly as it is, WITHOUT RECOURSE. But upon receiving 
before the date of sale expert opinion in writing that any lot is not as 
represented, The Anderson Galleries, Incorporated, will use every effort 
to furnish proof to the contrary, and in default of such proof the lot will 
be sold subject to the declaration of the aforesaid expert, he being liable 
to the owner or owners thereof for damage or injury occasioned by such 
declaration. 


TERMs CaAsH. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots 
as remain uncleared after twenty-four hours from the conclusion of the 
sale will be resold by either private or public sale at such time as The 
Anderson Galleries, Incorporated, shall determine, without further notice, 
and if any deficiency arises from such resale it shall be made good by the 
defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of The Anderson 


Vil 


Galleries, Incorporated, to enforce the contract with the buyer, without 
such resale. 


Bips. We make no charge for executing orders for our customers 
and use all bids competitively, buying at the lowest price permitted by 
other bids. 


The Anderson Galleries, Incorporated, will afford every facility for 
the employment of carriers and packers by the purchasers, but will not 
be responsible for any damage arising from the acts of such carriers and 


packers. 


Priced Copy of this Catalogue may be secured for one dollar for each 
session of the sale, 


THE ANDERSON GARG St 


INCORPORATED 
PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 
TELEPHONE PLAZA 9356 CATALOGUES ON BEQUEST 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


Vill 


a 
oer ener 


SALE THURSDAY EVENING 
APRIL EIGHTH. 1920 
BEGINNING AT 8:15 O’>CLOCK 


PeALVAREZ 


SPANISH SCHOOL 
1841—1901 


mek FIRST PORTRAIT 


The artist leans forward, absorbed in catching the expression of his 
model, a little girl of four or five who is standing on the velvet 
cushions of the settee trying to look her prettiest. The anxious nurse 
supports the child with one arm, while the mother fondly watches 
every stroke of the artist’s pencil. The colorful Directoire costumes / | 
are painted with nice attention to detail, while the furnishings of the\/ 
room—the large gilt mirror, the candelabra, the Directoire jar and// 
the settee—are portrayed with equal care. [/ 
Canvas. Signed at the right. Height, 17 inches; width, 12 inches. 
Bought at the Sarah M. Kimball Sale, March 25, 26, 1897. 


VIVANT BEAUCE 


FRENCH SCHOOL 
19th Century 


THE STANDARD BEARER 


With the Austrian standard hung up behind him, an old, red- 
bearded soldier of the Thirty Years War is seated upon his drum. 
His head is bent in an attitude of weariness, while both hands rest) / 
upon his sword. He 
Watercolor. Signed and dated ’609 at the right. Height, 15 inches; 
width, 9 inches. 


ev ol eh RY 


CONTEMPORARY AMERICAN SCHOOL 


AUTUMN IN THE BERKSHIRES 


A landscape with the mellow tints and bright sky of early autumn. 
Down a pleasant country road a boy is leisurely driving two cows, 
while in the distance three more are seen grazing. To the right rise 
majestic oak and maple trees, warm reddish brown and yellow in 
their coloring, while the more distant trees are veiled in the bluish 
haze of autumn. : 
Canvas. Signed at the right. Height, 20 inches; width, 16 inches. 


1 


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CARESS EOS 
GERMAN SCHOOL 


19th Century 
CRADLE SONG 


A scene of simple family happiness and repose. In the foreground 
a mother bends over her baby, singing it to sleep. The child lies in 
a painted wooden cradle, quaintly draped with flowered muslin. In 
the background to the right sits the father by a large desk, reading 
the evening paper, while to the left, on a white-covered table, stand 


a teapot and other signs of an evening meal. Large portfolios of / © 


drawings lie on the floor at the right by the side of a table with more 
portfolios. The wide window sill with its flower pots and a canary 
hanging in a cage above lend a final note of “homeliness’’ to the 
scene. 

Canvas. Signed and dated “Miinchen” at the right. Height, 37 
inches; width, 63 inches. Pik 


ROSA BONHEUR ; 


FRENCH SCHOOL 
1822—1899 


TWO DEER IN THE FORES( 
Two fine monarchs of the forest with wide spreading antlers stand 


~ in alert attitude in a clearing of the woods. The bare trees with here 
and there a vestige of autumn foliage rise in slender rows about them. | 


Canvas. Signed and dated 1882 at the left. Height, 40 inches; 
width, 20% inches. 


G. BORTIGNONI 


MODERN ITALIAN SCHOOL 
LEASING ADE eee Oa 


A gentleman in 17th century costume of deep lace collar, red sash 

and wide top boots is having sport with the parrot on its perch, while 

Ce one in blue silk, the other in flowered brocade, are merrily 
‘1 


_ p#inding wool. The 17th century Italian interior with its dark oak 
~~furniture and brightly colored rug is painted with great attention to 


‘ 


detail, 
Panel. Signed at the left. Height, 9/2 inches; width, 12% inches. 


A. BRENDEL 
GERMAN SCHOOL 
Born 1827 
HUNTING DOG 


, In the foreground of a green meadow a fine brown and white 
‘pointer stands in an alert attitude, as if scenting the game of which 
‘two hunters and another dog in the background are in pursuit. 


Brendel was especially successful in the painting of animals. His 
““Sheepfold at Barbison” hangs in the Luxembourg Museum. 
Canvas. Signed at the right. Height, 25 inches; width, 33 inches. 
Purchased from the artist. 

[SEE ILLUSTRATION | 


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[NUMBER SEVEN | 


be 


el ee 2 
WAN J VX“ 


Ay BRENDEL 


GERMAN SCHOOL 


& AWAITING His TANCE 


A red fox creeps slyly forth from the brushwood bordering a 
marshy stream over which birds are flying. Back of him are heavy 
thickets and trees with low, wide spreading branches forming a dark 
background. To the left, beyond the stream, a glimpse of brown 
meadows is visible. A picture to delight any hunter. 

Canvas. Signed in lower center. He eight, 24% inches; width, 32 
inches. Purchased from the artist. 


JEAN BRUEGHEL 
FLEMISH SCHOOL 
1568—1625 
[| Attributed to. ] 


oP i OBS 


An interesting presentation of sixteenth centurt life. in front and 


_ center four canopied shops with many-colored wares, and a tremen- 


ous number of festive-looking citizens in gay garments moving 
rgbout, purchasing and observing. At'the lefty the background, is 


WA 7 placid harbor with ships at anchor. yy 
Copper. Height, 25 inches; width, 34 inches. or 
INN 


Marquise de Salza and Count von Berchtold collections. 


JEAN BRUEGHEL 
FLEMISH SCHOOL 
1568—1625 
| Attributed to. ] 


[Oca THiS MARKET aPinC 


le 


In the center of the picture is an art booth, hung with many paint- 
ings. At the right side is a silversmith’s shop, the shop of a lithog- 


rapher, and of a basket maker; to the left an auctioneer; in the | 


background a busy port with sailing vessels. A bustling scene with 
innumerable figures in gay costumes. : 

Copper. Height, 25 inches; width, 35 inches. 

Marquise de Salza and Count von Berchtold collections. 


E. SHERWOOD CALVERT 


MODERN ENGLISH SCHOOL 
AFTERGLOW ON THE MEADOWLANDS 


A peasant girl is standing among her sheep as dusk is descending 
over the meadow lands. To the right a still pool is already reflecting 
_ the evening shadows. In the middle ground dark trees are effectively 
‘ massed against the sky, heightening the delicate blue and saffron 
tones which still linger among the fast graying clouds. In the fore- 
ground the dark meadow lands and the low bushes are already fading 


into the indistinctness of twilight. The artist shows a fine feeling ~ 


for the pathos and quiet beauty which are eternal in English land- 

scape. 7 

Canvas. Signed to the left. Height, 30 inches; width, 25 inches. 
[SEE ILLUSTRATION | 


4 


Sa ee 


| 


[NUMBER ELEVEN | 


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12. 


3, 


De BUGGLASrisisl 

MODERN ITALIAN SCHOOL 
ETE SEIN EE 

A girl in picturesque Italian peasant costume of blue apron, large 

white apron and red bodice stands in the gray stone doorway of an 
old cottage spinning with the distatf. To her right rise high stone 
steps leading to a rustic balcony. 
Water color. Signed at the right. Height, 20 inches; width, 14 
inches. 


ANTONIO CANALE (GANALE Iie 


VENETIAN, SCHOOL 


1712—1792 


THE GRAND CANAL AND PIAZZA DI SAN MARCO 
High prowed gondolas and other craft manned by sturdy boatmen 


gy busily up and down the Grand Canal before the stately facades 
bs pe 


14. 


Pee 


of the Piazza di San Marco, the Palace of the Doges and other 
stately buildings reminiscent of Venice’s glorious past. An interest- 
ing picture. 
Canvas. Height, 15 inches; width, 20% inches. 
Marquise de Salza and Count von Berchtold collections. 


ANTONIO CANALE® (CANA 


VENETIAN SCHOOL 
1712—1792 
| Attributed to. | 


SHEN PATLACE OF Vii DO Gin 
_ Te the right stands the palace of the doges with carved arches and 


tico ; to the left the slender column of the Campanile is outlined 


yy feast ‘the sky. In the middle ground stand more inconspicuous 


palaces and public buildings with a flight of wide steps leading down 
from them to the Grand Canal. In the foreground many small 
figures are visible. 
Canvas. Height, 11 inches; width, 8% inches. 
Marquise de Salza and Count von Berchtold collections. 

[SEE ILLUSTRATION | 


ANTONIO CANALE (CANALET TG) 


VENETIAN SCHOOL 
1712—1792 
[ Attributed to. | 


LEALTAIN-CANDSCAPE 


| in group of low buildings with a square turret rising up from their 
(rhidst stand on the bank of a narrow stream where a sailing vessel 


and two high prowed boats are at rest. On the bank and in the 
boats the figures of peasants may be seen. A landscape in rich, 
warm tones. 

Canvas. Height, 10% inches; width, 7% inches. 

Marquise de Salza and Count von Berchtold collections. 


6 


I. 


74 


0 | 


[NUMBER FOURTEEN | 


7 


ANTONIO CANALE (CANA 


VENETIAN SCHOOL 
1712—1792 
[ Attributed to. | 


16. GRAND CANALSANDRIAET®© 


This typically Venetian scene shows the old palaces along the 
Grand Canal and numerous gondolas gliding in all directions. A 
busy tune of day, under a bright Italian sun, with blue sky above and 
ue“water (albeit somewhat shaded by buildings) peacefully flowing 
4%on below. The activity of the figures in the gondolas is especially 
Ant, interesting against the old and stately buildings. 
oF | Canvas. Height, 15% inches; width, 20 inches. } 
Xe Marquise de Salza and Count von Berchtold collections 


\ 4 7 ' 8 


we 


Pree CUARLET 


BELGIAN SCHOOL 
19th Century 


17) SELIM, THE STREET SINGER 


yl 


In the center of a semi-circle of musicians and spectators stands 
Selim, the street singer, entertaining the throng. He-carries a large 
Moorish bagpipe with which he accompanies his singing. To the 
right are white-domed Algerian dwellings standing out against the 
blue sky and low green hills. The spectators, some in flowing white 
robes, others in vivid Oriental colors, form a picturesque group. 
Note the effective use of touches of brilliant red and blue in thd 
costume of the central figure. 


Canvas. Signed to the right center. Height, 39 inches; width, 4 feet . 


9 inches. 


9 


pl 
Bi 


[GBA Cie es |e 


BELGIAN SCHOOL 7 
19th Century 


TS: THE PARROT Gra iiik 


Three emerald green parrots perch upon the bare neck and arms of 
a Spanish girl with curling black hair. She is seated upon a Moorish 
taboret, with her head turned to one side, looking at the two parrots 
upon her left shoulder. Her low pink waist half. falls from one well 
ounded shoulder, while a skirt of cream colored lace accentuates 


+ te lines of her full figure. This picture received gold medals at the. 


Paris Exhibition of 1885 and at the Ghent Exhibition of 1883. In 
spirit and conception this picture bears a strange resemblance to the 


famous painting of Regnault in the Metropolitan Museum. a 


Canvas. Signed at the left. Height, 4 feet 9 inches; width, 3 rea 
[SEE ILLUSTRATION | 


FRANCO! Beer Oa 
FRENCH SCHOOL 
1516—1572 
[ Attributed to. | 


19° “PORTRAIT: OF MARY Seis 


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fp 


Arte) 


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Three-quarter length bust portrait, with the body and head turned 
shghtly to the left. The lady represented is of fair complexion, with 
‘light hair, blue eyes and slightly irregular features. She wears a 
AS h century costume of tight fitting “black satin jacket with wide 
&leeves puffed at the top. . The jacket opens in front to reveal a light 
Be hn vest trimmed with gold braid and with strings of pearls 
looped across. A very high lace ruff encircles her neck, while a 
jewelled cap partially covers her light hair. A portrait of fine 
decorative value. 

Panel. Height, 13% inches; width, 10% inches. 
Marquise de Salza and Count von Berchtold collections. 


Fk, COMPTE GAbLix 


FRENCH SCHOOL 


1813—1880 


20. THE: TRIAL OF MARIE CANT OUNT: [oie 


The young and beautiful queen stands fearlessly before her 
tribunal, with guards in the tri-color uniform on either side and in 
front of her. The galleries above are filled with a large and curious 


throng. Especially skilful is the impressionistic treatment of the 


throng of spectators and the delicate color rhythm of dull blue and 


/red. Other paintings by this distinguished French artist have been 
‘exhibited in many Salons. 


Gouache. Signed at the right. Heiaht, 8% inches; width, ro inches. 


’ Bought at the Sarah M. Kimlall Sale, March 25-26, 1897. 


10 


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TB CAME COROT 


FRENCH SCHOOL 
1796—1875 


[| Attributed to. ] 
PAS TH ORAT 


Between the twining arched branches of two great old trees can be i 


seen 2 Hive group of peasants’ huts outlined sharply against blue 
dis In the foreground a peasant woman drives two cows 
n ihe eee path. 


Canvas. Height, 18 inches; width, 24 inches, 


T, B, CAMILER Gor 


FRENCH SCHOOL 
1796—1875 


ELA AGE eCELUR Grr 


By a sandy yellow road, on a rise of ground, stands a long, low, 
sloping-roofed church, with a couple of half-grown trees that hardly 
shade it. A group of peasants are gathering outside the door, gossip- 
ing before the call to service. 


inches. 
ught at the Daniel W. Powers Sale, January 20, 1899. 


THOMAS COUIURE 


FRENCH SCHOOL 
1816—1879 


THE TEMPTATION OF MAGDALEN 


Repentant of her sins, Magdalen kneels on a rock before a rustic 
cross with a Bible in her hands. At the moment of contrition two 
amorini come to tempt her. One holds up a lustrous string of pearls, 
while the other tries to attract her attention by gently lifting the 
strands of her hair and the corner of her robe. Steadfastly she gazes 
downward, fearful lest she might yield. Other paintings by this 
famous French artist are in the Luxembourg and many other 
museums. 

Canvas. Signed and dated 1852 to the right. Height, 6 feet 2 inches; 
width, 3 feet 10% inches. 
Bought from the late Colonel Henry Thomas Chapman. 


12 


Canvas. Signed at the lower right. Height, 13% inches; width, 18 
1S in a 


24. 


25. 


26. 


‘ites 


TGA VID at 
FRENCH SCHOOL 
1748—1825 
[ Attributed to. ] 


EEVIZIA BUONAPARTE 


The comely lady sits in a gilded chair, drawing about her a red 
scarf and holding a finger between the leaves of a closed book. In her 
demeanor is a certain calm consciousness of empire, nor has she at 
all the air of a pushing parvenue. Her handsome neck and arms are 


displayed to the best advantage in a black velvet Empire gown. An % 
interesting portrait study. ; 
Canvas.. Height, 18Y% inches; width, 14% inches. We, A kif 
Bought at the Sara M. Kimball Sale, March 25-26, ioe d 
PewkENT DE BEUL 
BELGIAN SCHOOL ‘ 
19th Century 

SHEPHERD AND FLOCK ON A WINTRY DAY 

A shepherd in a blue coat and red muffler is driving his flock along 
a snow covered road. The white fields stretch off into the distance 
with the outlines of a town upon the horizon at the right. The dark 
lowering sky predicts more wintry weather. A shepherd dog runs 
by the side of the flock. The pervading atmosphere is one of intense 
and biting cold. : 
Panel. Signed and dated 1869 at the right. Height, 17 inches; CS 
width, 24 inches. 21g A Ti Wy, 

LN UE KAM 
roe ESCACEROS 
MODERN SPANISH SCHOOL 

THE MANDOLIN PLAYER 

A courtly gentleman in the velvet jacket, short slashed trouser and 
silk tights of the period, is playing the mandolin to two ladies. One 
of them, in crimson overdress and high ruff, is seated in a high- 
backed chair, while her companion, who wears a-black and white ) / 


gown in the same style, stands behind her friend in smiling pas 
tion of the music. 
Canvas. Signed and dated “Roma, 1872" at the right. Height, Ir 
inches; width, 8 inches. 


im 


CeO OG 


BELGIAN SCHOOL 
19th Century 


2/7. A’ FORESTS EAE We 


4 ight 


From a curtain of slender tree trunks a narrow path emerges as if 


bei hidden and mysterious depths of the forest. De Cock shows a 


étic feeling for the obscured light of woodland depths and the 
infinite gradations of coloring cased by the infiltration of light 
through ‘dense foliage. Other landscapes by this artist won medals 
in Paris in 1867 and 1869. 
Panel. Signed at the right. Height, 9 inches; Pe 514 ches 


ROGELTO. DE EHGUsOm 7s 


MODERN SPANISH SGHOOL 


28,° > PEN Sib ENA 


is 


A senorita, looking down from her window, gives coquettish en- 
couragement to the serenade of her lover, a torero in gala dress, who 
stands in the courtyard below. A second torero, evident!y uninter- 
ested or discouraged, sits nonchalantly leaning against the wall and 
smoking a cigarette while his friend plays. 

Canvas. Signed at the left. Height, 14 inches; width, 9 1mches. 


Ke DETPRIVEE 


MODERN BELGIAN SCHOOL 


29 eit 1 tO ik Sie 


30. 


f 


4 
4 


ip 


A man is leading two farm horses, heavy animals, built for hard 
t; see 1s brown, the ue wine) The a reveals his thor- 


treatment o the Bee tik ity of the heavy “flanks aa the bony rigidity 
of the legs. A fine example. 
Panel. Signed at the left. Height, 8 inches; wndth, ro inches. 


PS DE VER Ds 


DUTCH SCHOOL 
Born about 1800 
A PLEASANT WASH DAY 


The interior of a well-to-do Dutch cottage. A maid in a blue apron 
and red bodice washes a tub of clothes, while a little boy seated on 


- the floor close to the tub 1s blowing bubbles from some of the glisten- 


ing suds, while his neglected drum lies by his side on the floor. By 
fie window sits a middle- aged Dutch gentleman of prosperous ap- 
pearance reading a book and “smoking his morning pipe. The raftered 
room has a chest standing by the w rnin and a picture and several 
pieces of porcelain standing against the wall. In the open doorway, 
revealing a glimpse of the next room, stands a small dog. Note the 
fine mellow color tones. 

Canvas. Signed and dated 1836 at the right. Height, 19 inches; 
width, r6% inches. 

[SEE ILLUSTRATION | 


14 


[NUMBER THIRTY. | 


ir, 


NARGISSE, V LRGICE DiEAZ 
FRENCH SCHOOL 
1807—1876 
[ Attributed to. ] 


31. IN THE FORES or SRONTALNE Dir 


/ One of those idyllic retreats in the forest of Fontainebleu which 

at os Vy/ have offered French artists such vital inspiration. Here we have an 

nO NAN! opening in the forest where the arching trees part to reveal a still vu “q 

pool with a lightly wooded clearing beyond canopied by blue sky. 
Canvas. Height, 30 inches; width, 36 inches. / 
Bought at the Sarah M. Kimball Sale, March 25-26, 1897. 


NARCISSE VIRGIEE, Dix 
FRENCH SCHOOL 
1807—1876 
[Attributed to. ] 


3Z.. IN THE DEPTHS OF THE BORG: 
Intertwining boughs almost shut out the sunlight save in a small 
} central clearing where the figure of a peasant woman is indistinctly A 
f | seen against the lighter background of foliage. In the foreground / Ve 
i NY majestic tree trunks and broad branches form a curtain of dark - 
yf green shading into black. : 
Panel. Height, 9% inches; width, 13 mches. 


NARCISSE VIRGILE Dir 
FRENCH SCHOOL 
1807—1876 
[ Attributed to. ] 


OO; PEA PeBULE Or POSTERS 


Holding a hat filled with bright flowers, a young girl in a simple we 
white dress sits with her knees crossed and her bare feet peeping Ae 
lh on forth from under her skirt upon a mossy bank in the woods. By her 
hi o\, me 4 side is aco 

oe nd ee Height, 10% inches; width, 8 imches. 


V. BLOGs 


MODERN BELGIAN SCHOOL | 
34. PIGEONS A 
7) group of pigeons are picking up kernels of grain while another : 
. fwxth puffed out breast is strutting about the yard. The soft grays 4 7 
_,/and whites of the body feathers and the iridescent coloring of the 
/“*“ breast and neck are subtly rendered by the artist. 
Panel. Signed at the right and on the back. Height, 9 inches; 
width, 13 inches. 


vA, 


16 


ANTOINE WATTEAU 
FRENCH SCHOOL 
1684—1721 

[| Attributed to. ] 

Poop LY AT-~PLAY 
Under a group of handsome old trees in the foreground, lords and 

ladies play at the pastoral life. A lady reclines on the grass, holding 
a basket of fruit; two others are interested in a palm-reading by a 
young noble; another young gentleman peers out between the 
branches, himself unseen by the group he is watching. In the middle 
ground are two peasants, and in the background a castle in the ape f 
of the period. alt L- 
Canvas. Height, 40 inches; width, 52 inches. iy, We” 
Bought from the late Colonel Henry Thomas Chapman. pe 


Pee eoer ir NHAUS 
GERMAN SCHOOL 
19th Century 

pets ON THE ICE 

A brilliant sun hangs low in the west and sends a warm glow of 
orange over the dark ice. To the right dim figures are seen walking 
over the ice, while to the left, over snowy fields, rise the spires of _, 
the town. The dark sky is suffused with a dull orange glow. eA wy) 
the effective use of a single dominating note of color. A | OL a | 
Canvas. Signed and dated “Diisseldorf at the right. Height, 7— Oy : 
inches; width, 12% inches. Hf | 


MH, FLQCKENHAUS 


MODERN GERMAN SCHOOL 


TWILIGHT AFTER THE RAIN STORM 

The somber country still seems oppressed by the storm. ‘To the 
left stretch meadows with distant houses and trees blending with the J ) 
dark, forbidding sky. To the right are tall birches and a barn set_y 
back from the main road which gleams with golden green pools of 4 
light after the rain. An excellent study. 
Canvas. Signed and Re December 1882 at the left. Height, 
6% inches; width, 11% inches. 


By PRANCKEN 
FLEMISH SCHOOL 
1581—1642 
meter neoeNTATION IN THE TEMPLE 
The high priest is holding the infant Jesus while Mary kneels in 

prayer. Joseph and Saint Anne are nearby, while a temple attendant 
watches reverently in the background. The charm and simplicity of 
medizval religious pictures are well exemplified, and the coloring, 
while softened by time, is still fresh and warm. With the delightful 
naiveté of the middle ages, the Holy Family and the pues are 
depicted in sixteenth century costume. | 4 
Copper. Height, 11% inches; width, 7% inches. | ny hy UNA 

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PO PRANCKEN 
FLEMISH SCHOOL 
1581—1642 

WEDDING OF JOSEPH AND MARIA 

Under an elaborate canopy stand the bridal pair and the High 
Priest. The wedding guests crowd about, and overhead are floating 
two angels with a harp and a lute. Through the arches of the temple 
is seen a sunny sky. The rich, warm colors are especially notable. 


and the composition, while quiet, is moving. Ye ae 
Panel. Height, 25 inches; widih, 31 inches. (" Ce pyr 
; so ie 2 Be 
Marquise de Salsa and Count von Berchtold collections. ae 7a 
ie cro RINT // 


ITALIAN SCHOOL 
19th Century 
Pieri DAY OF NAPLES 
A gay, colorful scene of Italian peasant life. Two sturdy young 
men are rowing the boat.in a negligent, easy manner. A young man | 
and woman in the stern are engaged in a lively flirtation, while a 
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dark-eyed beauty in the bow is calling with her hand curved about 

her mouth to some unseen person. The sea is bright blue and calm, \ St fy ee 
and the slightly smoking Vesuvius in the background which seems to 7” wala 
disturb no one makes a vivid contrast to the airy good humor of the ; 
scene. 


Canvas. Signed at the right. Height, 20% inches; width, 50 inches. 


a4 


Re GERARD 


BELGIAN SCHOOL 
19th Century 

OUTWARD BOUND 

With one hand upraised to shield her eyes and the other in that of 
her small son, a Flemish fisherwoman stands by the sea wall watch- 
ing her husband’s boat being carried out to sea. The clinging de- 
pendence of the child and the anxious steadfastness of the woman 
are revealed in the postures of their bodies which are seen from the 
rear with the heads turned slightly in profile. A story portrayed //( l de 
directly and without sentimentality. ; 
Canvas. Signed to the right. Height, 22 inches; width, 16 inches. 


THEODORE GERARD 


BELGIAN SCHOOL 
19th Century 


PeemounDY DAY IN THE LOW.COUNTRIES Bead 

Beneath a cloudy sky the marshy fields of the Low Country jut in 
slender peninsulas into the water. In the foreground a small sail 
boat has caught the breeze. while to the left a row boat remains 
close to the shore, where a windmill and thatched cottages are out- 
lined against the sky. 
Canvas. Signed and dated 1860 at the right. Height, 23 inches; 
width, 38 inches. ; 


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43° THE SCAR EE MUSICIANS 


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-mysic lies upon a foot stool nearby. A tapestry in tones of blue 


| in y//green and an old chest, half open, form an effective background. 
es 


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/ inches; width, 13 inches. 


C MAY R GRAY 


MUNICH SCHOOL 
19th Century 


A charming re-creation of an eighteenth century scene. Two violin- 
ists and a flutist in the brocaded ‘silk coats and knee breeches of the 
period are seated with their music about a table. Other scattered ; ( 


anel. Signed and dated “Munich,” 1890 at the left. Height, ro 


FRANS HALS 
DUTCH SCHOOL 
1617—1669 
[ Attributed to. ] 


44 “PORTRAIT-“OF A DRINKING ar 


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|, ~ particular success in his animal pictures, one of which is to be seen 


One of those jovial studies in the tradition of Hals, imbued with the 
true Rabelaisian spirit. The man represented is shown at half length, 
the body turned slightly to the right, the head a trifle on one side with 
te mouth in the broad smile of unrestrained conviviality. One hand ) 

holds up an open drinking mug. A brown cap partly covers the red 
rown hair, while a rather unkempt brown beard emphasizes the 
loose lines of the mouth and chin. He wears a brown jacket with a 
small turned over collar, while a heavy gold chain and pendant 
attest to some degree of affluence. 
Canvas. Height, 30 inches; width, 26% inches. 
Marquise de Salza and Count von Berchtold collections. 


ee Ne 


JAMES Mie 
AMERICAN SCHOOL 
1828—1901 


THEOORCHAK DP Amd ha: 

In the foreground two cows and a flock of sheep are grazing by the 
side of a small pond. To their right are low branched apple trees, Io 
while in the background stand a few farm buildings. Hart achieved 


~ at the Metropolitan Museum of Art. 


Canvas. Signed to the right center. Height, 27 inches; width, 
40% inches. 


W. Re HARASS ae 
AMERICAN SCHOOL 
1823—1894 


46. COWS WATERING 


~ 


A stream winding among meadow lands with two cows standing i . 


> knee deep in the water. On the left bank of the stream a tree in ( ;@ 


f 


filliant autumn foliage contrasts vividly with smaller trees close by, JO; 
still in summer green. <A landscape of quiet and compelling beauty. 
Canvas. Signed at the right. Height, 6 inches; width, ro inches. 


20 


JAMES M. HART 


AMERICAN SCHOOL 
1828—1901 


47. THE OLD HOMESTEAD 


To the right a small rivulet is spanned by a rustic bridge over 

which a haywagon is being pulled by a pair of horses. Immense old 

trees with gracefully drooping branches tower above the bridge. 

In the middle ground stretch meadow lands with cows resting and 

browsing and in the far left an old homestead is dimly seen. among 
( A _ Sheltering trees. A charming landscape, painted on a large scale. 
ye Y Canvas. Signed and dated 1862 at the left. Height, 3 feet 7 inches; | 
width, 5 feet 9 inches. ) 


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W. HASEMANN 


MODERN GERMAN SCHOOL 


Peel | OF A PEASANT GIRL 


A girl of fifteen or sixteen, seen slightly from the side. She 
wears a headdress of broad looped black ribbon and a woolen shaw! 
with a bright pattern, over her white blouse. The gaze of the blue 
eyes is direct and sincere; the well formed lips are slightly parted. 


The artist has portrayed an ideal peasant type with the healthful // 
simplicity and robustness of sturdy stock combined with a Boe 


intelligence. 
Canvas. Signed at the upper right. Height, 14 inches; width, 10% 
inches. 


Peewee nUNTINGION,.N. -A. 


AMERICAN SCHOOL 
19th Century 


LADY JANE GREY IN THE TOWER 


The unfortunate lady is shown at the close of her melancholy 
career. She sits by a table holding the Bible in Greek. A priest, 
also sitting at the table, is reading aloud to her from a French testa- 
ment. An old retainer in the background is weeping hopelessly, and 
the sadness of the scene is communicated fomtmerotner fioures. A 
pathetic story, graphically told. 


Canvas. Signed at the left. Height, 54 inches; width, go inches. L NN 


EUGENE ISABEY 
FRENCH SCHOOL 
1804—1886 


Pee SEA RIGHT 


An impressive aftermath of war. In the middle ground are four 
Spanish fighting galleys, the one at the left still flaming from the 
parapets. In the foreground are parts of the wreck and small boats 
crowded with sailors. Drowned figures float about, while others 
fight for their lives. The struggle of those attempting to cling to the 
wreck is vividly depicted, and the still-clenched fists of a newly 
drowned man who clings face down to a floating spar, are keenly 
real, and in fact strike the keynote of the picture. The scene is 
somewhat obscured by the smoke from the recent battle, so that the 
salient details of the foreground stand out sharply in contrast. The 
very sketchiness of the ‘technique of this painting is a powerful 
factor in accentuating the grandeur of the subject and in giving the 
main details the virile power gained through broad, robust treatment. 
Canvas. Height, 41% inches; width, 68 inches. 

Bought from the late Colonel Henry Thomas Chapman. 


[SEE ILLUSTRATION | 


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EUGENE SABE Y 
FRENCH SCHOOL 
1804— 1886 
[| Attributed to. ] 


PORTRAIT OF A GENTLEMAN | 

A gentleman in a robe of rich red velvet with an overmantle of 
brown is standing with one hand resting upon the ledge of a window. y 
By his side stands a low table, whose books bespeak studious tastes. ~ 
The blended warmth of the rich colors is unusually effective. 
Panel. Signed at the left. Height, 8 inches; width, 5% inches. 


HARRY JOCHMUS 


GERMAN 
19th Century 


THE DRAWING LESsow 

A charming scene of schooldays. A little boy sits atatable near the 
window, drawing a wooden saint. The old drawing master leansy 
over the boy and watches him closely, with a kindly, interested Jl | 
expression. The child’s complete, intense absorption is faithfully 
rendered in this clever genre painter’s usual manner. 
Canvas. Signed at the left. Height, 33 inches; width, 49 inches. 


E. JOURS 
MODERN BELGIAN SCHOOL 

ASRS 

Asters in deep purple, pink, lavender and white in a Chinese vase of 
graceful form. A few of the flowers have fallen from the luxuriant 
cluster and lie upon the white table cover. Green background. 
Canvas. Signed at the upper left and dated “Anvers, 1890” on the 
Lack. Height, 22 inches; width, 20 inches. 


1 Ke § 


MODERN GERMAN SCHOOL 


THE STUDENT . 

A beautiful young girl is absorbed in midnight study. In her 
white chemise she sits before a table piled with books reading ‘ 
intently the open one propped up before her. The dark head with 
its masses of brown hair is seen in profile, and her lovely bare arms 
rest upon the table. A charming study. ’ 
Canvas. Signed at the left. Height, 9 inches; width, 12 inches. 


‘ 
TARTAR 

MODERN GERMAN SCHOOL : 

THE DREAMER ‘ 
With her bare arm resting upon a pillow and her loose robe | & 
slipping picturesquely from one white shoulder, a young girl with 4 
pale gold hair sits lost in the land of dreams. } 
Canvas. Signed to the left. Height, 6% inches; width, 9% inches. ~ 


24 


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GERMAN, 19TH CENTURY 


TOBOGGANNING 


Winter in the mountains! A snow-covered hill, with trees grow- 
ing by the roadside; blue shadows on the snow, and boys coasting 
on home-made sleds. Two sleds in the foreground have come to 
grief; a little boy who has been tumbled into the snow is trying 
bravely not to cry; the third group is flagging the first, who are, 
however, too busy to observe, and a second catastrophe is imminent. 
A life-like representation of boy life. 

Canvas, signed at the right and dated. Height, 40 inches, width, 
29 ches. A 


THOMAS KLEEHAAS 


GERMAN SCHOOL 
19th Century 


Prem OURTSHIP 


Mountains are no obstacle to true love, as is proved by this 
Tyrolean suitor, who with Alpine staff in hand and a gay feather 
in his green cap, sits on the bench beneath the window of a small 
Swiss cottage high among the mountains. His sweetheart leans 


picturesquely out from the frame of the window with one arm / 


A faithful dachshund watches his master’s 
In the background are snow capped 


~~ 


resting on the sill. 
progress with interest. 
mountains. 

Canvas. Signed and dated “Miinchen” in the upper left. Height, 36 
inches; width, 27 inches. 


eee AAS 


GERMAN SCHOOL 
19th Century 


PionMNG OR THE PORT 


A group of little boys with wooden swords lying in wait behind 
a wooden gate for another group of little boys who are about to 
attack the fort. The varying expressions of the boys range from 
solemnity to dare-deviltry, but all are true to child nature and all 


are interesting. The little leader in his red cap has the responsibility )— 


of nations on his shoulders. 
Canvas.. Signed and dated 1890 at the left. 
width, 50 inches. 


Height, 36 inches; 


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LH KREEE HAS 
MODERN GERMAN 
THERE DDE IER 


In this realistic scene of peasant life we see a cheerful group in 
the village inn. Two young girls and a boy sit at table with a young 
stranger whose red handkerchief with all his possessions lies on the 


Pex Ay // bench beside the boy. The peddler has just entered; he is handing 


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one of the girls a baby’s bottle, which she refuses to take, half | 
amused and half- embarrassed. The young man smiles broadly over | 

his pipe, and the innkeeper and his wife are seen in the background, 

slyly enjoying the joke. The picture is done in a spirit of innocent 

good nature and is a pleasing character study. 

Canvas. Signed at the right. Height, 30 inches; width, 43 inches. 


W. KRAY 


GERMAN SCHOOL 
19th Century 
As ODI te 


The eternally beautiful Greek myth in modern interpretation. 
Lightly veiled and with flowing red gold hair, Aphrodite is repre- 
sented at full length arising from the sea. At her feet are doves 
while a handmaiden and two cherubs play in the waves at her side. Yb 
Other cherubs hover in the air above her. An ideal feminine figure, 
exquisitely painted. 

Canvas. Signed at the left. Height, 4 feet 3 inches; width, 3 feet 
9 inches. 7 
Bought at the Daniel W. Powers Sale, January 20, 1899. 


Ky KUWASSE Gare 


AUSTRIAN SCHOOL 
Died 1876 


DALMATIAN HARBOR SCE Wi 

A deep blue sea with sail boats lying at rest and numerous small 
craft moored to the pier in front of the market place. From one 
boat men are unloading fruit, from another fish, while venders and = 
marketers throng the street. Back from the street stand tall houses , Wy 
with canopied door ways and in the middle ground there are more / 


, distant white houses standing close to the pier which is thronged 
“‘with varied shipping. Back of the houses rises a high hill whose 


summit is crowned by turreted houses. 
Canvas. Signed and dated 1869 at the left. Height, 21 inches; 
width, 39 inches. 


26 


62. 


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63. 


BielSTOSCANCERGLTO 
ITALIAN SCHOOL 
19th Century 


ITALIAN LOVERS 


A gay scene from peasant life. The young people stand at the 
door of the hut, laughing and talking gaily, while the mother inside 
listens with interest. The young man leans up against the wall 
with Italian insouciance, holding the arm of his lady love, who 
smiles and daintily holds the rose he has given her. He is a sailor, 
and his blue collar is an interesting note, harmonizing the young 


woman’s red headdress with the orange bandanna of the old mother, 


in the cottage. A typical Italian scene, painted in Venice. 


Canvas. Signed at the left. Height, 45 inches; width, 20 inches Dy / 


Peer WIN HENRY LANDSEER 


PINGLISH -sC HOOL 


1802—1873 
ee i ne 


An excellent example of the work of the preeminent English 
animal painter. The head of a brown and white bull terrier, rendered 
with that understanding and technical skill which place Landseer 
alone in his field. | 
Panel (cracked). Signed with the initials “E.. L.” at the left. Height, 


7 inches; width, 5% inches. yf. 
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Bought at the Sarah M. Kimball Sale, March 25-26, 1897. V 


Pec Mal HIEU 


CONTEMPORARY BELGIAN SCHOOL 


THAWING 


A little Flemish town, perhaps Louvain or Bruges. In the fore- 
ground a wooden bridge spans a narrow stream which is hemmed in 
by wooden piles on either side. On the far side of the water are 
picturesque houses with red tiled roofs contrasting with the clear 
blue of the winter sky. Across the bridge are seen only the roots 
of other houses, partly covered by snow. Note the expressive brush 
work. 

Canvas. Signed at the left. Height, 22 inches; width, 33 inches. /~ 


27 fi yg HA 


PAUL) MAT ELE 


MODERN BELGIAN SCHOOL 


AN OVERCAST SKY 


A group of thatched cottages among trees with marshy ground 
and small pools in the foreground. The sun is overcast, and the 
broad/expanse of sky a dull leaden gray. An effective study in a 
minet key. 

Canvas. Signed at the right. Height, 19 inches; width, 27 inches. 


28 


68. 


[$y “ 


Pee NTA TEER 


CONTEMPORARY BELGIAN SCHOOL 


THE INTERIOR OF A STUDIO 


In the foreground an Oriental rug of warm color and a tall 
carved clock. In the background a painting upon an easel, and an 
old Italian chest with a tapestry hung above it. The glass, pottery 
and porcelain scattered about the room lend contrasting notes of 
color, among which an opalescent glass jar in the foreground 1S 
particularly effective. 

Panel. Signed to the left. Height, 18 inches; width, 14 inches. 


Sf 


eet WAT HIEU 


CONTEMPORARY BELGIAN SCHOOL 


moo APTER RAIN 


A country road, green after the rain. To the left a row of slender 
saplings which border the roadside are outlined against the sky, and 
in the middle background a thatched cottage stands among sheltering 


trees. Above the cottage the sun is slowly setting, a brilliant touch 
of color among the heavy gray clouds. One of the melancholy plaing’ 
of Belgium, rendered in a spirit of poetic, simplicity, / 
Canvas. Signed at the right. Height, 20 inches; width 28 inches//pA 


M. MERKER 
GERMAN SCHOOL 
19th Century 


Pee OURT YARD IN OLD LUBECK 

A scene of picturesque and unstudied charm, somewhat in the 
spirit of Pieter de Hooch. The old brick houses with their pointed 
gables and red tiled roofs have an air of basking in the sunshine of 
a serene and carefree old age. One house stands with door flung 
open and the casements opened with charming irregularity. The 
courtyard itself is equally irresponsible, with w andering bushes, a 
line of drying clothes and an old cart left upon the flagstone pathway. 
Canvas. Stoned and dated 1887 at the right. Height, 30 inches; 
width, 24 inches. é 
Purchased from the artist. 


29 / (/* 


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M. MERKER 
GERMAN SCHOOL 
19th Century 


SLE AGIEIDEIE, Bes cr Bice 


In the foreground a few peasants are gathered on the flat shore 
bordering the Trave. Across the stream many boats are moored at 
the foot of the town whose red roofs with their high gables rise 

y, in picturesque tiers. To the left a steep staircase leads up from the 
¢ “river bank to an old church in the characteristic Baltic brick style. 
The artist has realized to the full the inherent charm of his subject. 
Canvas. Signed and dated 1887 at the left. Height, 31 inches; 
width, 40 inches. 
Purchased from the artist. 


30 


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44 / 


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FRENCH SCHOOL 
1823—1881 


THE FLOWER GIRLS 

An older girl in a rose colored dress, her golden hair wreathed 
with flowers, is leading by the hand a dark haired child. The former 
bears a large basket of roses and morning glories, while the child 
clasps a spray of roses to her breast. An artist’s conception of 
ideal and spring like beauty. Other examples of Merle’s work are 
in the Luxembourg, the Metropolitan and other large museums, 
Panel. Signed at the left. Height, 16 inches; width, 13anches. 


44 


PAUL MEYER 


. MODERN GERMAN SCHOOL 
P/ lea Apdiey Pah aw COR @ Be 


Two ladies are engaged in the eternally interesting problems of 
clothes. One, in a striped yellow silk jacket kneels before an open 
trunk, from which she is taking various garments. Her friend who 


wears turquoise blue and carries a pink parasol, leans forward in | 
es her chair giving helpful suggestions. An open wardrobe in the / M 
f : ackground reveals a glimpse of other feminine frills, while another 
Lp y|\ AY, /~ dress hangs over a white screen at the back of the room. A dramatic 
sense, showing a nice sense of color values. 
Panel.. Signed and dated “Mainz” at the right. Height, 18 inches; 
width, 24 inches. 
} 
4 
PAUL MiB VETS ’ 
GERMAN SCHOOL ; 
19th Century 
7/2, JHeeyielL ACG rere NEES 7 4 


In the courtyard of an old house a family of peasants in their gay 
holiday clothing are having their communal portrait painted. The 
complacency of the old woman with her many colors, the grimness 
gher husband in his red coat that fittingly outshines her more 

Ambitious efforts, and the varying degrees and qualities of stupidity //\\Aq 
 f#i/in the young folks’ faces, are all admirably done. ‘They paiiter ta! 

\ fi/)\ "himself has no illusions as to his sitters, for he is already improving ~~ 
NLA upon them, though the picture is barely begun. An effect of many | 


J \ 7 . . e . . 
a colors 1s given with comparatively few; an interesting treatment. 


Canvas. Signed at the left. Height, 42 inches; width, 50 inches. 


PAUL MEYER 


MODERN GERMAN 
073.0) TELE WEA SNE 


A musical afternoon at an eighteenth century salon. A young 
man is playing the spinet with a good deal of feeling, while his 
hostess sings an emotional song. She is evidently nearing the 

imax, to judge from her rapt expression. The guests do not all ;4 
énter into the spirit of the song. Two young women in the back- / 4 : 
ground are giggling behind a fan, more interested in the accompanist 
than in the singer. Under the shelter of some spreading palms, a 
young courtier is paying compliments to an older woman. On the 
other hand, a fine-featured student in black, who sits near the piano, 
is deeply moved by the music, and others are in varying degrees 
attentive, while a fat and gouty noble nods on the verge of sleep. 

A considerable range of expression and personality is shown in this 
recreation of eighteenth century life. 

Canvas. Signed lower left. Height, 4 feet 8 inches; wndth, 6 feet 
6 inches. 


32 


Pipa Re MOUYN 


DUTCH SCHOOL 
1599—1650 


fee UP HILL ROAD 


A country road bordered at the right by trees with luxuriant 
foliage which are separated from the roadside by a tottering wooden 
fence. At the left a woman, child and dog are climbing a more _— 
rugged hilly path diverging from the main road. The sky is-a_ 
mass of fleecy white clouds with glimpses of blue showing through. 

The softly blended coloring of road and trees with their rich golden 
browns shading into yellow greens is particularly lovely. An 
excellent picture by this eminent Dutch landscapist. 

Panel. (Cracking and sold not subject to return). Signature partly 
blotted out and dated 1645. Height, 15 inches; width, 23 inches. 


MoD. / 4 


AMERICAN SCHOOL 


Pieri vyeR AMONG THE HILLS 


A shallow river bordered by trees and brushwood, winds a placid 
course among low hills. 
Water color. Signed at the left. Height, 10 inches; undth, 14, Wa 
j it 


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76. AUTUMN WOODS 


77; QUAIL HUNTING 


/\/richness and color which meet one at every turn in the narrow streets 


| stad out against a hazy curtain “of distant trees. The ground is 
S “covered like a red-brown carpet with the fallen autumn leaves, ) 


SmLESPRIDAY EY DANN 
-APRITLONDN CE 1920 
BEGINNING AT 8:15 O'CLOCK 


PETER: PAUL Ui ia 


‘GERMAN SCHOOL 
19th Century 


Two old peasant women bearing fagots on their backs, are passing 
through the autumn woods. In the foreground the massive trunks 
of the oak and maple, contrasting with ‘occasional slender birches, 


against which the moss covered stones stand in vivid contrast. The 
lengthening shadows show that: it is late afternoon, 
Canvas. Signed at the left. Height, 36 inches; width, 50 inches. 


PETER PAUL MU 


MODERN GERMAN SCHOOL 


Quails are hovering low over the brown fields while a huntsman 
vho stands with his dog at the side of the road, has just taken aim - 
and killed a bird. In the background and to the right are trees in "10 o 
autumn foliage. A charming landscape, filled with a genuine feeling 
for the out of doors. 

Canvas. Signed at the left. Height, 21 inches; width, 1714 inches. 


PETER PAUL MUIir 


MODERN GERMAN SCHOOL 


ALGERIAN SURE ER Sei 
eter Paul Muller is particularly successful in interpreting the 


of Algiers. Here we have one of his usual vivid portrayals. Down 
the narrow, stone paved street a procession is advancing amid music, 
flowers and waving banners. In the foreground, by a table piled 
with melons and other luscious fruits a brightly dressed Algerian 
girl stands with a brass incense burner upon her head. High on 
either side rise the white stone walls of the houses, a quiet note in 
the riot of color. : 
Canvas. Signed at the right. Height, 32 inches; width, 24 inches. 


34 


1 NN Ra Ne Na at ye 


[NUMBER EIGHTY-ONE | 


ohare wpeiPe hb by sh lRIL av iky 


CONTEMPORARY AMERICAN SCHOOL 


! 79, DUICH FANDSCALPE 

| Q A pleasing study of the Low Countries. In the foreground a 
shallow stream with fishing craft, to the right the picturesque out- 

| ae _.Alines of windmills against the sky, and to the left peasants making 

OY GY A 8 ' their way along the marshy fields. In the distance across the river , _ 


LSAT the spires of a large city stand out against the sky. 4) 
tater edt Watercolor. Signed at the left. Height, 18 inches; width, 27 inches. ; 
\ ESTEBAN MURILLO 
SPANISH SCHOOL 
1618—1682 


[ Attributed to. | 


80. MADONNA HOLDING PALMS 
A lovely, placid Madonna, with flowing hair, white gown, and 
| blue draperies, rising through angel-studded clouds. The mellow 
a i tones and the quiet religious tone of the picture are reminiscent of 
| ee ~'Murillo at his best. 


/, (“ Canvas. Height, 5 feet 4% inches; width, 4 feet. ‘ 

“files Bought from the late Colonel Henry Thomas Chapman. WA) 
CASPAR NETSCHER _¢g 
DUTCH SCHOOL 3 
1639—1684 
81. PORTRAIT OF ANNA MARIA HOEFFT 4 
| A slightly self-conscious beauty in a burnt-orange silk gown 
[ leans against a window. Behind her is a summer landscape of tall, 
tossing trees, and on the window ledge are in pleasing contrast pink 
| _ rosg¢s and a pottery vase. The lady holds a yellow scarf so as best , g¥ 
i f tofshow her rounded arms and dimpled hands. Her head is grace- / f 
, } \- py ¥, Af tully turned, with a curl on either shoulder. The artist has with 
: ES 1 »\/4~ an excellent character sense given a clear.if not altogether flattering 
1 ee () ST portrait of a personality, and his fidelity to detail, as in the treatment 


aes of the pearls, is remarkable for realism. 
Canvas. Height, 19 inches; width, 15% imches. 
Marquise de Salza and Count von Berchtold collections. 
[SEE ILLUSTRATION | 


| me 
| FRENCH SCHOOL 
Second Empire Period 


827 YOUNG GIRL WIPHeR Ons 
A bust length portrait of a beautiful young woman, her golden t 
Jy. s\hair knotted low at the neck and wreathed with flowers. She wears 
A “a decolleté gown of turquoise blue with a filmy white scarf thrown 
loosely about her shoulders. One hand clasps a spray of roses at 
her breast. 
Canvas (oval). Signed “N. G. 1866” to the center left. Height. 
28 inches; width, 23 inches. 


36 


85. 


Mee PHILLIPOTRAUX a 
FRENCH SCHOOL pi 
1815—1884 / 
THE GAMBLERS 
A study of character in action by this well-known French painter. 


Under a clump of trees are five men in sixteenth century costume; 
two leaning against a tree watching the other three, who are seated 


on tree stumps, throw dice on a drum. A quarrel is arising between / _ 
two of the players, one angry, the other grave. The third lay, LY 
watches in complete detachment, as does one of the spectators. The: br jf | 


other spectator is amused. Another man sits apart under two small 
trees that interlace to form a canopy, and there are other unfinished 
figures in the background. An interesting piece of psychology, made 
additionally interesting by the picturesque costumes. 

Canvas. Signed at the right. Height, 40 inches; width, 50 inches. 


Pee POPEAUX 
FRENCH SCHOOL 
1815—1884 


Chis! BEFORE PILATE 


The last work,’ still unfinished, of this well-known painter, 
Chevalier of the Legion d’Honneur, whose work hangs in many 
European galleries. On a high marble platform stands Christ, the 
crown of thorns already on his head and an expression of calm resig- 
nation on his face, while several legionaries push and mock him and 
the crowd seems to be still shouting, “Not this man, but Barabbas.” 


Hostility is in all their faces. Pilate, who with part of the crowd/ 


is drawn in but not painted, stands on a canopied dais washing his 
hands. A highly dramatic presentation. 
Canvas. Signed at the right. Height, 30 inches; width, 47 inches. 


See. POINGDESTRE 


FRENCH SCHOOL 
19th Century 


THE MARBLE QUARRIES, CARRARA 


Two wagons, each drawn by six oxen urged on by Italian drivers, 


are hauling huge blocks of white marble down the rocky path leading _ 


rom the mountains. Another wagon stands at the side being |] PR 
High above on all sides rise the mountains, sheer forbidding masses 
of brown rock, the farther peaks tinged with bluish gray. The 


white marble in the foreground contrasts vividly with the dark /¢ 


shadows of the quarries. An impressive picture, painted on a large 
scale. 

Canvas. Signed and dated Rome, 1870, at the right. Height, 4 feet 
2 mches; width, 7 feet. 


37 


A 


| 
y, f / | 
f 


LeyePorr 


ENGLISH SCHOOL 
19th Century 


86. PHE BATT OF (aD LN Ang Clits 


/ A tragic moment in English history. The great cardinal, so many — 
[/ fats the arbiter of England’s fate, is seen at the culmination of a ~ 


/ \ series of disappointments which have brought him into disrepute 
/Y ~~ with the king. Henry the Eighth is seen at the right of the picture, 
callously turning his back upon his former counsellor. A group of J 
courtiers are mocking the cardinal, who stands at the left in a 
dejected position, about to surrender the seal. The dominant note 
in the picture is the cardinal’s red robe. ; 
Canvas. Signed at the right. Height, 20 inches; width, 5 fect. 


REMBRANDT HARMENSZ) Aas 
DUTCH SCHOOL 
1607—1669 
| Attributed to. ] 


8/7. PORTRAIT OF REMBRANDG 


A copy of the famous portrait in the Uffizi Museum in Florence. 

The master is shown in his later years, his brow puckered with much 

thiyking and careful observation. He is wearing a black cape with 

j ne ur collar and a black cap; a gold chain hangs about his neck. In 

| ) (2! * characteristic Rembrandtesque “fashion, the light shines strongly on 
fA . i the face, leaving the rest of the picture in deep shadow. 

“- Canvas. Height, 28 inches; width, 2244 inches. | 
Bought at the Sarah M. K Kimball Sale, March 25-26, 1897. 


SIR JOSHUA REY NGI 
ENGLISH SCHOOL 
1723—1792 
[| Attributed to. | 


88: PORTRAIT OF KORE t Var ea 


A three-quarter length portrait of a young woman seated in an 

_arm chair, one hand resting in her lap, the other clasping a dove, 

/ while another dove is flying toward her. The head, which is seen in 

; F profile, has the dark hair drawn back from a brow of beautiful 

es | / / contoyr“and massed at the back. She wears a robe of tannish pink, 
es {/ loy“in the neck and trimmed with ermine upon the shoulders and 
TTL L/town the front over a garment of white silk. A transparent shawl 
; falls lightly over her shoulders. 


Canvas. Height, 13 inches; width, 8Y% inches. 
Bought at the Sou M. Kimball Sale March 25, 18097. 


38 


[NUMBER EIGHTYNINE | 


HANS HOLBEIN 
GERMAN SCHOOL 
1497—1543 
[Attributed to. ] 


89. PORTRAIT OF A MAN ENTITLED BURGOMASTER OF 


BASEL 


The excellent citizen, dressed in black, after the manner of his 
Hime; and with a brown eee collar, rests his left hand on the shoulder 
a, painfully conscientious- looking small boy. The child holds an 


f ne fi aye which undoubtedly was given him through the proper 
MMNAM an 


Al OM 


els—no robust apple-stealer he, but a sad and dutiful child, 
with endless lessons to do. There is kindliness and paternal feeling 
in the father’s attitude, but the feeling of the time is unmistakably 
expressed in a certain stern religiousness of the whole picture. 
Panel. Height, 17 inches; width, 13 mches. 
Marquise de Salza and Count von Berchtold collections. 


[SEE ILLUSTRATION | 


HANS HOCBE 
GERMAN SCHOOL 


1497—1543 


90. PORTRAIT OF A WOMAN ENTITLED “WIFE OF THE 


BURGOMASTER OF BASEL” 
(Companion Piece to the Preceding) 


The good lady, in her dark dress and white wimple, is holding a 
tiny flower in her right hand. The hands are carefully posed so as 
to show her heavy gold rings, and the end of her gold belt chain 
trails negligently over the table before which she stands. Virtue 


7 and uprightness have left her an almost complacent expression, 
_ | ,slightty altered by the eagerness to look her best which a portrait 
“Sitting inspired. A most interesting character study, both psycholog- 


ically and historically. 

Panel. Height, 17 inches; width, 13 ches. 

Marquise de Salza and Count von Berchtold collections. 
[SEE ILLUSTRATION | 


AO 


1 


[NUMBER NINETY | 
4 


“4 
ee 


92. 
[OA 
93. 
94. 


Os 
jj 


c Kis 


ELY 2 GEN ET are 
FRENCH SCHOOL 
1659—1743 
| Attributed to. | 


PORTRAM @ORsCO GWT Seni 
The egotistical Bourbon with his haughty expression challenges 
the spectator to doubt his divine inheritance. His dandified little 
ee eee and his elegant lace stock bespeak the middle-aged beau. 
Canvas. Height, 33 inches; width, 26% inches. 
Bought at the Sarah M. Kimball Sale, March 25-26, 1897. 


SALVA TORPAR@SEs 
ITALIAN SCHOOL 
1615—1673 
| Attributed to. ] 


THE GUARDSMAN 
A stalwart soldier in armor stands with folded arms and sword 
ready for use at a pass in the mountains. / 


VV 


SALVATORE ROes 
ITALIAN SCHOOL 
1615—1673 
[ Attributed to. ] 


TWO ROMAN SOLDIERS 

_ One soldier in plumed helmet and armor is seated upon a rock 
with shield in hand, while another soldier is coming up the hill. 
One of those paintings of Roman soldiery for which Salvatoré Rosa 


/) \&fas especially noted. 


Watercolor. Height, 1034 inches; width, 8 inches. 


SALVATORE Rtas 
ITALIAN SCHOOL 
1615—1673 
[ Attributed to. ] 


LEE CARB Sb. NbN Te 

A soldier in a picturesque costume of yellow turban with crimson 
feathers, full white blouse and crimson breeches, stands alertly on 
guard before a rock. He bears a tall staff and a large sword hangs 
over his back. At his feet lies a green cloak. 
Panel, Height, 10% inches; width, § inches. 


42 


0 


Panel. Height, 10 inches; width, 7 inches. WA -4 


le 


a 


ia 
NV 


PEV ERE ROTHERMEL 


AMERICAN SCHOOL 
19th Century 


OLIVER CROMWELL IN THE CHURCH OF SAINT MARY 
OSSIRY 


A dramatic moment in English history. The Protector sternly 
bids the curate halt service, while the curate, just as sternly though 
silently, faces the intruder without fear. A handful of Cromwell’s 
soldiers are dispersing the startled congregation. A tense and vivid 
scene of the Church of England’s reformation. 

Canvas. Signed at the right. Height, 40 inches; width, 52 inches. 


fee eRe ROUSSEAU 
FRENCH SCHOOL 
1812—1867 
[Attributed to. | 


aHe HILL POND 


On a hillside nearly at the tree line, with scrub spreading cheerily 
where only a few poplars and elms have ventured, is seen a wee 
still pond, giving back the blue and white sky in faithful reflection. 
In the right foreground is a single thorny cactus. 

Panel. Height, 17 inches; width, 25 inches. / 


Pee RUBEN S 
FLEMISH SCHOOL 
1577—1640 
[Attributed to. ] 


THETIS RECEIVING THE ARMS OF ACHILLES 


Thetis, standing by the sea shore, presents her son Achilles with 
a shining shield which Vulcan hands to her. The Cherub Charis, a 
little genius, helps her to hold it. To the left is seen the Centaur 
Chiron lifting himself to receive from the hands of an amorino the 
helmet of Achilles. At the bottom of the picture in the foreground 
blacksmith’s tools are grouped. On either side at the extreme right 
and left are statues of Jupiter with the eagle and Juno with her 
peacock. This painting was a cartoon for a tapestry. 
Canvas. Height, 18 inches; width, 22% inches. 
Marquise de Salza and Count von Berchtold collections. 


43 . 


4 jaan, an eo tee res 


anf 


JAROB YW ANShUNes SATs . 

DUTCH SCHOOL 
1630—1682 

[ Attributed to. ] 


08) Av RES TSB Ys titan On Doel 


In the foreground, at the side of the road a woman and boy are 
resting, while an old man stands close by. Slightly back from the 
_ road a few low houses stand in the shelter of bushes and trees. In 
A hal the distance rolling green fields stretch away toward the horizon, 
here a church is dimly outlined against the sky, The mellow color 
tones are particularly lovely. 
Panel (oval). Height, hes inches; width, 10% inches. 


ar ie a eee a 


FL A. SCH MUEpe 


GERMAN SCHOOL 
19th Century 


09°) THE WOODINAMEHS 


If the classic days of nymphs in woodland ete have passed 
away from the world of reality we may still find them recreated 
in the artist's world. Here in the poetic depths of blue black forest . 
“ glades we find two nymphs venturing into the waters of a quiet ; A 
‘stream. Screen of dark boughs parts in the center to give a glimpse | | 
of blue sky. Something of the spirit of Diaz and Bocklin is felt 
in this subtly beautiful landscape. 
Canvas. Signed and dated 1888 at the left. Height, 30 inches; 
width, 43 inches. 


ADOLF SCH REY 
GERMAN SCHOOL 
Born 1828 


100, “ARABS INCE DiS tig 


In the foreground is a noble warrior on a magnificent horse. Near | 
yhim is the standard bearer on a black steed. Other horsemen are / 
(p¥/seen in the distance, and the desert hills against a brilliant sky in } 
the background. The composition is arranged to make the horse 
and rider in the foreground stand out strongly, and indeed they 
are a worthy pair, the rider with his fine build and thoughtful face, 
and the spirited, beautifully proportioned animal. 


Canvas. Signed at the left. Height, 21% inches; width, 29 mches. 
44 


Per ROR BEL 
GERMAN SCHOOL 
19th Century 


fie PARTING GUESTS 


The vaulted stone hallway of a large house whose high arched 
doorway is ornamented with sculptured figures. Beyond a small 
staircase is seen where a man is reading beneath a casement ist 
window. At the side of the doorway a woman in a white satin 
dress is drawing on her gloves, as if to depart, while her little son Wr 
stahds by her side. The hostess, who is standing beneath the high ) /0 
casement window is telling her guests good-bye. The details of the 
room and its decorations are skillfully executed. 

Canvas. Signed and dated 1872 at the right. Height, 30 inches; 
width, 25 inches. te 


DAVID TENIERS THE YOUNGER 


FLEMISH SCHOOL 
1610—1694 
[Attributed to. ] 


102. THE SMOKER 
A peasant inn, showing two rooms opening into one another. To 
the right, in the background, a group of roisterers are gathered about 
the fireplace drinking and playing cards. To the left, in the fore- 
ground, a solitary smoker of more select tastes, is seated before a, ) j 
wine barrel filling his pipe. He wears a peasant coat of brown and) 4 eS 
blue trousers, while a high felt hat with a jaunty feather distinguishes 
him from his fellows. A tobacco bowl, a wine glass and a napkin 
are on the top of the barrel, while a large jug beside the fireplace 
offers evidence of still further good cheer. In the right foreground 
a dog sleeps beside a bench. 
Canvas. Height, 15 inches; width, 20 inches. 
Bought at the Sarah M, Kimball Sale, March 25-26, 1807. 


fe RY: 


AMERICAN SCHOOL 
19th Century 


ioe) tit ARTIST'S DREAM 

Tired from his work, the artist, with paint brushes still in one f 

hand, falls asleep before his unfinished canvas. In his dreams there “© 
: appears before him the vision of loveliness which he has tried to 
. , place-on canvas—the three graces in diaphanous draperies and a 
ot fort bgaiting Cupid with a finger upon his lips. Dim studio background 
, with marble statues. Terry, although an American, spent the greater 
/- part of his life in Rome and was strongly influenced by Italian art. 
Canvas (oval). Signed and dated Rome, 1873, m lower center.; 

Height, 45 inches; width, 36 inches. 


45 


MAX THEDY 


MODERN GERMAN SCHOOL 


i 104. THE CARDINAL IN HIS LIBRARY 


/ _In_pontifical scarlet robe and cap the old cardinal sits in his — 
1 ) | library reading. Under the low casement windows with glass in 
| f \ vd LKB dizeval design, stand low bookcases, the half open curtains reveal- 
| {yi “~~ ing thick, leather bound tomes. . By the cardinal’s side a large 
oaken chest with more volumes stands with lid thrown back. Upon 
the floor at his feet lie other books. A long picture of a medizval 
saint in a red robe lightens the far wall. 
i Panel. Signed and dated “Miinchen” at the left. Height, 18 inches; 
width, 22 inches. 
Purchased from the artist. 


— 


| MAX THEDY 

MODERN GERMAN SCHOOL 

10d ee BRING AL EOW ERS 

| A little girl in a blue apron is picking the first wild flowers grow- | 

i | / ing néar the trees upon the slope of a grassy hill. In the distance is Aa 
Nn | _thélimpse of a lake, while the trees and grass have the soft yellow { <7 
Ge /  ve74reen coloring of early spring. A lunch basket with a napkin and V 


/) Lp" bottle shows signs of an al fresco repast. 
Canvas. Signed at the right. Height, 25% inches; width, 32 inches. 
Purchased from the artist. 


Seek, RN a Aelia etme cot. 
\ 


we 


WAX Boe 


MODERN GERMAN SCHOOL. 


1062 TH E-OLD AUS PGi AN 


An old Franciscan monk, in brown robe and small cap half cover- 

‘ng his sparse white hair, is seated with his music before him, tuning 
his violin. An open casement window shows the adjacent walls ot /; {wl 
the monastery. The wrinkled intensity of expression upon the old Z 

a musician’s face, heightened by the spectacles low upon the nose, is 

as at once pathetic and humorous. The crimson chair back lends a 

, '. bright note to the otherwise somber tones of the picture. 

Academy board. Signed at the right. Height, 24 inches; width, 
31 inches. 
Purchased from the artist. 


46 


‘ ia 


MAX THEDY 


MODERN GERMAN SCHOOL 


fee eee COURTSHIP 


In a bare Flemish cottage room, the suitor, with pipe in hand, 1s 
seated on a long wooden bench, and, leaning slightly forward, 
awaits the girl’s answer with a smile of complacent self-assurance. 
The latter is seated near him in a straight-backed chair, her head 
slightly bent and resting upon one hand as if pondering her decision, 

of which the man is only too certain, An excellent piece of realistic 
77, character delineation. 
~“Panel. Signed and dated Weimar at the left. Height, 26 inches; 
width, 36 inches. 
Purchased from the artist. 


47 


[ NUMBER I08 | 


48 


GIOVANNI BATTISTA TIEPOLO 
VENETIAN SCHOOL | 
1696—1770 


108. BEFORE THE TEMPLE OF JUNO 


Standing before the Temple of Juno, a high priestess receives the 
offering of jewels which a temple attendant is bearing upon a large 
platter heaped with ornaments set with rubies and pearls. Another J ; 
attendant bears a sacrificial urn. Back of the group are the marble Da 7 
facades and columns of the temple, decorated with classical heads 
and surmounted at the top by a statue of Juno and her peacock. An 
excellent example of Tiepolo’s work, revealing in every detail the 


Y celebrated draughtsmanship and coloring of the famous Venetian. 
Fa nvas (oval). Height, 562 inches; width, 44 inches. 


[SEE ILLUSTRATION ] 


Pre vyaNNI BATTISTA TIEPOLO 
VENETIAN SCHOOL 
1696—1770 


ieee RAPE OF LUCRECE 


The infamous Tarquin, his face distorted with brutality and rage, 

stands behind Lucrece with uplifted dagger, determined to secure 47/9) 
his will. His other hand grasps one end of the drapery with which 
his helpless victim is vainly trying to cover her nude body. Lucrece, 
her posture expressive of loathing and fear, turns to him a glance 
which vainly seeks mercy. A picture of virile and compelling work- 
manship. Especially notable is the vivid interpretation of the face 

= and posture of Tarquin. 

( Cavtvas (oval). Height, 57 inches; width, 43 inches. 


na x 
h Aa wi y 4 eZ [SEE ILLUSTRATION | 
: 49 


! 


EE 


[NUMBER 109 | 


50 


110. 


mOVANNI BATTISTA: TIEPOLO 


VENETIAN SCHOOL 


1696—1749 


PHOEBUS APOLLO RECEIVING HOMAGE 


On a clump of rocks in the center sits Apollo, shaded by a slender 
tree. Below him to the right is Aphrodite, holding the little Eros 
by the hand. On a rock to the right sit. three of the Muses; the 
others peer out from behind the rock on which Apollo is sitting. In 
the background smiles the Blue A“gean, and the sunlight and fresh 

_ selors combine to give the atmosphere of calm classical joy befitting 
“a group of Grecian deities. Tiepolo’s work is, as always, vigorous 
in line and color and full of movement. 
Canvas. Height, 27 inches, width, 37 inches. 
Marquise de Salza and Count von Berchtold collections. 


51 


» 


Es 


GIOVANNI BATTISTA Tiere 


VENETIAN SCHOOL 


1696—1749 


CRUCIFIXION 


An amazing vivid presentation of a tragic subject. The outstand- 
ing figure of the Saviour, dead, with his crown of thorns flaming 
into a halo, is in the full sunlight. Not a detail is spared, and the 
agony of the tossing worshippers below is as clearly portrayed as the 
frozen anguish of the three dead figures crucified. A Roman soldier, 
with his back to the spectator, mounted on a sturdy horse, is testing 
the dead with his lance. A soldier hidden behind the Saviour, only 
his hand visible, is about to thrust his lance into the no longer 
bleeding body. Tiepolo’s usual clarity of outline and vigor of 
movement is well exemplified in this fine example of his work. 
Canvas. Height, 29 inches; width, 34 inches. 

Marquise de Salza and Count von Berchtold collections. 


52 


mo 


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es 


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rls; 


CONSTANT TROYON 
FRENCH SCHOOL 
1813—1865 
[| Attributed to. | 


COWS WATERING 


Two cows, one white, the other dappled brown, stand knee deep © 


in a pool in the woods, whose background of dark branches and 
leaves forms an effective setting for the placid animals. The fine | 


modelling of the animals and the warm mellow tones of the back- 
ground reveal the delicate sympathy and understanding of Troyon’s 
treatment of similar subjects. 

Panel. Signed at the left. Height, 9 inches; width, 7 inches. 


ROGIER VAN DER WiEage 
FLEMISH SCHOOL 
1399—1464 
[| Attributed to. | 


THB Ch CTP Ts 


A reverent presentation, with the naive charm of medieval 
religious art. The Saviour is dead; at his right mourns the Virgin 
Mary, and the other Mary crouches at his feet. To the ieft stands 
Joseph. of Arimathea in an attitude of prayer. All the figures, 
incl 


particularly reminiscent of Palestine, stretches out in the distance, 
and the figures are dressed in medizval costume. <A delicious 


“,~ production of simple piety. 


Panel. Height, 14 inches; width, ro inches. 4 
Marquise de Salza and Count von Berchtold collections. oud i. 


[SEE ILLUSTRATION | 


54 


ing Mary Magdalen, have haloes. A gently rolling landscape, 


114. 


1900 


i 


117. 


LNA) “ie 


PHILIP DE KONINCK 
DUTCH SCHOOL 
1619—1688 


TEACHER AND PUPIL 
An old man in seventeenth century costume is gravely pointing 
with his finger to a map held by a small boy. The master’s other 
hand rests in a big book. A somewhat older boy is watching the 
lesson with interest, while a red-cheeked young scamp, climbing up 
the tall old chair on which the teacher sits, is vastly more interested 
in the latter’s face. The light comes from a window at the left, 
and illumines the faces in strong contrast to the dark room, 
Canvas. Height, 54 inches; width, 49 inches. ( | /) 
Marquise de Salza and Count von Berchtold collections. J f 


UNKNOWN /| 


FLEMISH SCHOOL 


A BOUQUET FOR MOTHER 

An old, high ceilinged room, the open door revealing a staircase 
with a carved balustrade. The room is dimly illumined by a leaded 
casement window. Ina high-backed chair a woman in a furred blue 
jacket is seated, holding a letter in her hand, while her little son 
stands with the hearthbroom in one hand and a spray of flowers for 


his mother in the other. A table with a gilded Florentine mirror , 


stands beneath the high casement window, and on the floor in the 
foreground a large copper basin with glass cruets has been left. An 
interior whose treatment is reminiscent of the work of Terborch. 
Panel. Height, 19% inches; width, 16 inches. 


UNKNOWN 


Port het? OF A CAVALIER 

A copy of an early 17th Century portrait, with the name “Christo- 
bal Colon” in large letters at the bottom, an attribution which on 
account of the costume is impossible. The cavalier represented 
wears the wide-fluted ruff of the period and a suit of armor with a 
dark red garment thrown over the left shoulder. He wears a 
moustache and a small goatee. The forehead is high and the expres- 
sion of the face that of a man of action. f \{ 


Panel. Height, 22% inches; width, 17 inches. a 


UNKNOWN 


FRENCH SCHOOL 
Perea sANT COURTSHIP 


Cauliflower is no bar to romance, if we may judge from this 
charming peasant pair. The girl, in quaint apron and bonnet, sits 
with a bowl in her lap and a cauliflower in her hand, while her 
youthful lover leans eagerly forward pleading his cause. Note the 
simple dignified lines of the composition and the delicate color 
rhythm of green, red and brown. ) 

Canvas. Height, 28% inches; width, 25% inches. 


tn 
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THAT AN © ee EASIER) 
VENETIAN SCHOOL 
1477—1576 


Tis) SPOR TRALLIO TaN | 
The aged artist is represented at full length, seated in an arm 
chair, the upper part of the body bent slightly forward and the 
hands resting on the arm rests. The snow white hair is almost 
covered by a brown velvet cap, while the luxurious robe of the same 
' color is deeply banded by fur at the neck and sleeves, and fastened 
by frogs of gold braid down the front. A heavy gold chain is wound 


“and white beard shows the sadness of old age. The red cushions of 
the chair add a vivid touch of color to the rich golden browns of 
the rest of the composition. 

Canvas. Height, 51 inches; width, 4034 inches. 
Bought at the Sarah M. Kimball Sale, March 25-26, 1897. 


LEONARDO -DA VINCI 
ITALIAN SCHOOL 
1452—1519 
[Attributed to. ] 
T1953 Grea SUL rian 
1 | A long table with Christ seated in the center among his disciples. 


| l _{Suddenly the vision of the Holy Ghost appears above the head of 


Christ, and the disciples, as well as those who are serving them look 
up in awe and astonishment. 

Panel. Height, 5 inches; length, 9 inches. 

Bought at the Sarah M, Kimball Sale, March 25-26, 1897. 


UNKNOWN 
DUTCH SCHOOL 
About 1860 
1207 THE SKATING PAR ie 

Winds are blowing the bare trees and the fields are covered with 
snow and ice, but these things are of little moment to the gallant 
» // whose lady has granted him the privilege of strapping on her skates. 
‘jy, Another gentleman with a scarf about his waist stands close by, 


_ | /Jseemingly impatient to glide over the smooth ice. The lady wears 


an elaborate velvet costume trimmed with fur, while the gentlemen 
wear close fitting coats and knee breeches. 

Canvas. Height, 21 inches; width, 25%4 inches, 

Bought at the Sarah M, Kimball Sale, March 25-26, 1897. 


P.-V ARE NGL 
FRENCH SCHOOL 
19th Century 
121. HARBOR IN NORMANDY 
In the middleground a quaint Gothic church. At the left, sailing 
vessels in the port. Men working at the wharf, women in gay 


peasant costumes marketing at the bright-canopied stalls outside the ° 


cathedral. A scene full of life and motion. 
Canvas, signed at the right. Height, 20 inches; width, 31 wches. 


56 


| { twice about his neck. The heavily lined face with its deep set eyes | 


r 


| 


) 


o 


/ 


CHARLES VAN DEN EYCKEN 


MODERN BELGIAN SCHOOL 


122. amas Pia LER Ss WAWAY THE KITTENS WILL 
LAY 


An artist’s table with palette, brushes, a bowl and several books. 

A sedate mother cat at the right is peacefully watching the antics of 
_ her kittens. One of them is lying upon the velvet in a box, while a 
second peeps over the cover and a third, partly obscured by the 
artist’s palette, has succeeded in overturning a bowl. Background 4. 
of rich velvet hangings. 
anvas. Signed and dated 1890 at the right. Height, 21 inches; 
width, 26 inches. 


a 


i “VINCENT VAN DER VINNE 
zg DUTCH SCHOOL 
1629-—-1702 


“123. PORTRAIT OF AN OLD WOMAN 


: Three-quarter bust portrait of an old Dutch peasant woman, still 
| hardy and enjoying life despite her age. The sunken eyes, the 
_wrinkled skin, and the sagging mouth and cheeks all reveal that she 
_is in the seventies: She wears a greenish waist with the sleeves 

turned up to the elbow and a neckerchief of darker green showing ai 
he bare throat. In one hand she is holding a pot of lentils which 3 Du ee 
rests upon the table, while with the other she lifts a mouthful on a 
wooden spoon. The anticipatory smile shows that she has not passed 
the stage of enjoying the good things of life. 
Canvas. Height, 22 inches; width, 17 inches. 


WIiLLEM VAN DE VELDE 
DUTCH SCHOOL 
1633—1707 
[Attributed to. ] 


124. MARINE VIEWS 


In a peaceful harbor with blue summer skies overhead lie full- .. 
rigged schooners and little rowboats at anchor. Jn the left middle- ¢ 
ground is a particularly interesting ship, clearly seen and with full 
detail. A soft white mist, through which the sun shines warmly, 
partly obscures the more distant vessels. Gulls lift and dive all 
through the foreground. The gentlest aspect of the sea is 
sympathetically shown. 

Canvas. Height, 15 inches; width, 24 inches. 
/ eee tt? de Salza and Count von Berchtold collections. 


y} tue a 


SLRS ANTHONY eV AN DMG 
FLEMISH SCHOOL 


1599—1641 
[ Attributed to. ] 


1257 “PORTRAEW OPA DY “ANN Gack: 
The haughty young aristocrat sits staring superciliously at the 


oe anvas. Height, 44 inches; width, 34 inches. 
AAA ~ Bought from the late Colonel Henry Thomas Chapman. (Uh 


BO VAN HOVE 
BELGIAN SCHOOL 
Born 1825 : 


126. <LESTING THE SWORD 
A Spanish nobleman is testing the flexibility of the sword which 
a sturdy artisan has just handed to him. The nobleman is of slender, 
aristocratic build with pale olive skin and dark hair. The arched 
eyebrows, the finely modeled features and the poise of the head all 
$ indicate a proud spirit. He wears a sixteenth century costume of a 

) / Ahort velvet doublet with a slashed red velvet waist and wide slashed W 

f) »,/— sleeves over which is a sleeveless wrap of dark velvet, luxuriously | 
sali trimmed with fur. Contrasting with him is the figure of the sword 


7 


maker, a short muscular workman with leather apron and rolled-up 
/ sleeves, who stands anxiously awaiting the verdict. 
an Panel. Signed and dated 1884 at the left. Height, 28 inches; 
| width, 22% inches. 
\ C. VAN LEEMPIA 


BELGIAN SCHOOL 
19th Century 


127. EWE AND HER LAMB 
A well executed animal study. The lamb is lying upon the straw f- 
of the barnyard while the ewe stands near by in an attitude of watch- \ 0 
Petey ill) Care. 
\/T Panel. Signed and dated 1869 at the left. Height, 6% inches; width, 
9% inches. 


gpa ae era Sa 


ee 


BARON VAN OERP 


BELGIAN SCHOOL 


About 1860 
128. MICHAEL ANGELO AT THE BIER (OR 
COLONNA A 
The great artist, robust though nearing his allotted span, gazes 0: 


down in sorrow at the dead figure of her who was his inspiration in 
later life. The all-too-brief friendship has come to an end. Michael 
Angelo, in tender resignation, bids a last silent farewell to his friend. 
Executed with feeling and restraint. 

Canvas. Signed at the left. Height, 56 inches; width, 4 feet. 


58 


PEN ANCOSS 


DUTCH SCHoOGr 


About 1800 
129. MARINE 


On a choppy sea a number of small sailing vessels with passen- 
gers are gaily tossing about. The shore, with two windmills, is 
visible in the right background. The peasant men and women take/ //) 
eir shaking up very calmly—in fact, seem to be out for a holiday, 

S fly from the masts and the passengers have a festive air. 
interesting piece of realism. 

Canvas. Signed at the left near the boat. Height, 15 inches; width, 
20 inches, 
Marquise de Salza and Count von Berchtold collections. 


ANATOLE VELY 


MODERN FRENCH 


* §130- HEARTS AWAKENING 

, This picture, which received the medal of the Paris salon in 1880, 
is a piece of tender sentiment. A young girl, sitting on a footstool 
beside her grandmother, has let her needlewoork fall into her lap 4 
and sits gazing dreamily far away. “The thoughts of youth are, 9/0 J 
long, long thoughts,” and the prospects for the embroidery are very 
slim, The grandmother looks up from her big Bible with sympathetic 

»f understanding and a look of reminiscence. The young girl, gowned 

bern white, shows up clearly against the dark background and the 

black dress of the old grandmother. The painter has a picture in 

the Corcoran Gallery in Washington. 

Canvas. Signed at the right. Height, § feet 2 inches; width, 4 feet 

Io inches. 

Bought at the Daniel W. Powers sale, January 20, 1899. 


FRITZ VOELLMY 
MUNICH SCHOOL 
eesti BOATS } 
In the calm sea of early morning varied fishing craft are riding at 
_ // ’¥ yanchor. The sails, faintly tinted with blue, stand out clearly against} 
Wie r,s the horizon still faintly flushed with the pink of dawn. fl 
: jf Panel. Signed to the right. Height, 8 inches; width, 13 inches. 


ANDRE CHARLES VOILLEMOT 


FRENCH SCHOOL 
19th Century 


132) THE UNVEILING OF BEAUTY 

An amorino, fearful lest beauty should be concealed, 1s lifting the ; 
. corner of a diaphanous drapery upon which a beautiful nude woman f foo 
[/ is reclining. A charming study, with a touch of the spirit of Boucher.U« 
Canvas. Signed at the left. Height, 7 inches; width, 8} inches. 


dh 1. 


GREGOR VON BOCHMANN 


MODERN GERMAN SCHOOL 


WAITING FOR. THE BOATS 


A group of North Sea fishermen are gathered on the beach with 
their horses and fish carts awaiting the return of the boats. One of 
the very large boats lie beached upon the shore. One of artist’s 
characteristic scenes from the life of the North Sea fishermen, done 
“on a small scale with a miniature painter’s feeling for fineness of 


ld detail. 


“ Panel. Signed at the right. Height, 5 inches; width, 7 inches. 
60 


Peay ON CAACHORSKI 


MODERN POLISH SCHOOL 


toe SEE JEWEL BOX 

A beautiful woman in late 18th century costume is seated upon 
an embroidered couch with one arm resting upon a marble and gilt 
/ console table at her side. In the other hand she holds up to admi- 
/ ration a pendant of rubies and pearls. Other jewels, which she has 
/ taken from a gilt and velvet jewel box on a stool at her side, lie* 
7 —T,, upon the table ‘and on her lap. Above the couch hangs a woodland 
Wy, Mi ““?>Aapestry. A luxurious scene, the embroidered upholstery, the lustrous 
'  -“)satins of the gowns and the details of the furniture executed with 

infinite attention to detail. 
Canvas. Signed and dated 1897 in the upper left. Height, 22% 


inches. width, 30 inches. 


61 


P, VONVSPRENWI 


CONTEMPORARY AUSTRIAN SCHOOL 
135) SPER DSS Nala aa eee ke 
In th depths of a wooded meadow a peasant girl stands by 
_pthé| side of her flock which is browsing among the lush grasses. 
_ 0’ Rays of sunlight penetrating through the trees reveal a clearing be- 
yond. 


Canvas. Signed at the right. Height, 18 inches; width, 28 inches. 


FREDERICK Veo" als 


BRITISH SCHOOL 


1770—1840 
136. FARM SCENE 
A pleasant valley on a summer day. In the background are roll- 
ing hills, and a summer sky overhead. An English farm house with 
thatched roof in the middle ground, and peasants loading hay wagons. 
» In the foreground an old woman with a market basket is conversing 


fy) p4A/-“~with a man on a horse. A pleasant, peaceful scene. 


Canvas. Signed at the right. Height, 33 inches; width, 52 iches. 


CH, WEIECS 


MODERN GERMAN SCHOOL 


13/7. eee PPT Se) ee PON 


One of those woodland depths where one always expects to hap- 
pen upon Pan playing his pipes, but never does. Here the artist 
has realized our expectations and given us a glimpse of Pan seated 

_y Ay a small stream among trees of beautiful foliage. Over the tree 


aly ““' tops one catches a glimpse of sunset sky. A landscape of poetic 


charm. 
Canvas. Signed and dated 1888 at the right. Height, 44 inches; 
width, 59 inches. 


ROBERT SW? Waias 


AMERICAN SCHOOL 


1803—1889 
138.4 THE EMBARKATION OF TEE PICS ria. 


The solemn moment before departure. The courageous pilgrims 
have embarked upon the ship “Speedwell” and are now gathered 
for a moment of worship about their two venerable pastors, one of 
whom kneels with an open Bible, while the other pronounces bene- 
diction with outspread hands. In the background are glimpses of 
tearful farewells, while to the right one sees the last arrivals, bidding 
good bye to their friends and relatives. The wide spread sail affords 

4a background for the varied costumes of the pilgrims. To the 


eh right one catches a glimpse of the city they are leaving, while to the 


right a rainbow of hope is seen gleaming above the sea. 
Canvas. Signed to the left. Height, 47 inches; width, 6 feet. 


62 


[NUMBER 143, | 


63 


is 


a 
/ 


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130; 


4 Lh ff 


140. 


141. 


~ emperor, while a handsome young woman in mourning, her face 


NDOLEH EW 21SZ 
FRENCH SCHOOL 
Second Empire 


AWAITING AN AUDIENCE 


A dramatic moment in the Second Empire. A room full of 
courtiers at the palace of Fontainebleau waiting their turn with the 


PO gh Yee 


partially concealed by a veil, is being ceremoniously ushered thrones 
the curtains at the left by the master of ceremonies. The various | 
groups turn to look at her while she passes—-the Sheik from Algiers, / oe 
in native costume, an officer in the army of the famous “Cent gardes,” 


its priest, a student, and representatives of the various professions, 
l 


also a lady in a pink dress—all show considerable interest in the ¥ 
stranger who nevertheless passes on shyly but with self-possession 
to her unknown errand with the emperor. om , 


Canvas. Signed at the right. Height, 27 inches; width, 45¥% 
inches, 


F. WERENSKIOLD 


MODERN NORWEGIAN SCHOOL 


HOMEWARD BOUND = 


A country road, with three peasant women pulling an older woman 
in a heavy two wheeled cart. A group of children are walking by 
the side of the cart. Two women are seen far ahead, while a little 
dog runs frantically along in the rear. To the right is hilly pasture 
land where a peasant is seen among his flock of goats. | 
Panel. Signed at the left. Height, 6% inches; width, ro inches. 


[SEE ILLUSTRATION | 


FY WILLEMS 
BELGIAN SCHOOL 
1823—1905 


THE YOUNG AKT ST UBEN. 


“Art is long and time is fleeting,” must have been the thought of 
this charmingly serious young model of Willems’ who he has painted yp 
na moment of adding an important touch to her sketch. In quaint D0 
Dutch costume of flowing silk dress, standing ruff and white apron 
edged with lace, she sits with her feet upon a carved foot stool and 
her drawing board resting upon her lap. To the right stands an 
easel with a painting which is evidently another proof of her devotion 
to art. The picture shows that fine attention to details and nice 
sense of values which are characteristics of Willems’ work. 
Panel. Signed at the left. Height, 18% inches; width, 14% inches. 


64 


F, WILLEMS 
BELGIAN SCHOOL 
1823—1905 


ieee ee GUITAR PLAYER 


A young girfin a white satin costume of the Italian 17th gentury 
is seated before a table with a music rack tuning her guitar, An 
Oriental rug in rich coloring covers the table, while a blue vase 
with roses stands near the music rack. At the back of the table 
stands a quaint painted shrine with folding doors. One of those 


RICHARD WILSON 
ENGLISH SCHOOL 
1713—1782 
[Attributed to. ] 


143. MORNING ON THE MEADOW LANDS 


The rolling English country side is warmed by the sunlight of a 

calm summer morning. In the foreground, upon a low hill which 
- commands a considerable view of the fields below, a mother and 
/ child are standing, while another child is mounting the hill on a 
YY whiteMorse. To the left, in the shade of majestic oak trees, two 
dren are resting near two cows. The study of the suffused light 
f morning upon the nearer and farther fields is particularly inter- 
esting. 
Canvas. Height, 29 inches; width, 361% inches. 
Bought at the Sarah M. Kimball Sale, March 25-206, 1897. 


[SEE ILLUSTRATION | 


Peek) VWWILSON, -R.. A, 
ENGLISH SCHOOL 
1713—1782 
144. PASTORAL 


An idyllic English landscape with low hills rising in delicate 
rhythm. In the foreground among rocks and fallen tree trunks a 


stream winds its way with some difficulty. Two cows stand peace- (/ 


fully in the shade of majestic trees at the base of a hillock to the 
right, while at the left a mother and child are seen advancing, hand 


ge The sheltered cottage at the left side at the base of low 


/ 


i) 
i), hs Ws gives a note of pastoral tranquillity. Wilson is justly celebrated 
; 7 q 

AMY ‘ee 


as a painter of English landscapes. __ 
- Canvas. Height, 50 inches; width, 39 ches. 


[SEE ILLUSTRATION | 


: 65 


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a 


a 


—EEEEE 


[NUMBER 144 | 


66 


TWO IMPORTANT TAPESTRIES OF THE STORY OF 
BACCHUS WOVEN. BY JAN RAES, BRUSSELS, 
PEANDERS, EARLY SEVENTEENTH CENTURY 


By R. Meyer RieEFsTaHL, Ph.D. 


Woven in wool and silk. These tapestries date from the best period 
of tapestry weaving in Flanders. They bear in the right lower edge the 
signature of Jan Raes. Jan Raes, the elder, was one of the great master 
tapestry weavers of Brussels.. His important position in the community 


was acknowledged by his fellow citizens who elected him as second burgo- | 
master of the city of Brussels. His main activity was between the years | 


1617 and 1634. His son, Jan Raes the younger, is also well known in the 
history of tapestry weaving. His work is recorded between the years 1628 
and 1637. The workshop of the Raes family was entrusted with orders 
from many sovereigns and princes. Work from their looms is found in 
the famous collection of the kings of Spain and in that belonging formerly 
to the Austrian crown. Their progressiveness in the field of art is shown 
by their connection with Rubens. Rubens’ famous series of cartoons 
illustrating the story of the Roman consul Decius Mus (now in the Liech- 
tenstein gallery in Vienna) was woven in the workshops of the Raes 
family. Among other sets of tapestries executed on their looms may be 
mentioned a series of the story of the apostles after Raphael, others illus- 
trating the story of Absalom, of Theseus, the deeds of Cupid and the 
coronation of Charlemagne. 

It is impossible to determine whether the present tapestry is to be 
ascribed to the elder or to the younger Jan Raes. Tapestries signed with 
a name in full writing (instead of marks) could scarcely have been pro- 
duced before the regency of the Archdukes Albert and Isabella (1598- 
1621). The set of the story of Decius Mus, belonging to the crown of 
Spain, has the signature of Jan Raes in full writing. 

-No positive statement can be made as to the authorship of the car- 
toons of the present series. The cartoons seem, however, not to be the 
work of a Flemish, but of an Italian artist. This makes an origin in the 
early 17th or late 16th century probable. The style of the artist shows 
neither the joyful abundance of the Flemish followers of Rubens, nor 
the dramatic counterpoint of the school of Michelangelo and Giulio Romano. 
The simplicity of the composition, the graceful ease of the different figures, 
indicates the school of Raphael. The dancing nymphs seem to have stepped 
out from a fresco by Raphael in the Farnesina. They may therefore be 
ascribed to a follower of Raphael. There is nothing surprising in the 
fact that a tapestry weaver working around the year 1600 reproduced a 
cartoon dating sixty or eighty years earlier. 


67 


> a 


ee 


Shr 


. 


145. 


The borders of the tapestries are similar in style but with different 
motives. They show the well known type of Renaissance border which 
was introduced into the Brussels workshops by the famous cartoons by 
Raphael for the history of the Apostles, mixing diverse figures, genii and 
putti with architectonic motives, capitals, consoles, etc., and with hanging 
fruit and garlands. The borders, however, show a somewhat later type 
of this “grotesque” style. 

The subject of these tapestries is beyond doubt the story of Bacchus. 
The set may have consisted of six or twelve tapestries, as signs of the 
zodiac are represented in the upper left corners of the composition. We 
were unable to trace any other set of tapestries having the story of Bacchus 
as its subject. 


THE ALLEGORY OF THE WINE PRESS 


The border of the tapestry shows a confusing richness of motives. 
An architectonic frame with two elaborate baroque columns on both 
sides surrounds the central composition. Amorini are holding fruit 
and flower garlands and tie grape vines around the columns. Vines 
and grapes, referring to the subject of the composition, twine 


- around the different parts of the border. Two mythological figures, 


overwhelmed by the wine, are represented in the upper architray J 


of the border. 


CLA es 7 j 
The composition in the center shows to the right a wine press,” ‘ ) 
Ahe grapes being pressed by the feet in the old fashioned way. The 


146. 


PAL 


grape juice is pouring out of the press and is eagerly lapped up by ,, 


several men and women who already show the effect of the new wine. 


In the center is a rather humorous group of one of the minor fol- _ 


lowers of the god pouring wine over the breast of a Maenad, who, 
however, is not in the least disturbed in her happy slumber and 


‘sleepily receives the care of a satyr, who prevents her from sliding 


to the ground. In the left part of the composition is an outlook on 
a beautiful landscape with vineyards, faraway mountains and the 
sea. In the sky the sign “Virgo” of the zodiac gives the symbol of 
the hottest month of the summer after the summer solstice. 

The tapestry is in excellent state of preservation, except consid- 
erable restorations in the lower border. Signed in the lower left 
with the Brussels mark ( a double B with a red shield in the middle ) 
and in the lower right “Ian Raes.” 

Height, 11 fect; width, 14 feet 7 inches. 


[SEE ILLUSTRATION | 


THE BRINGING UP OF BACCHUS AT NYSA 


The border of this tapestry is in the same style as the preceding, 
but with different motives. It shows a series of grotesque figures, 
chained slaves, young men tied to a stone cartouche and bitten by a 
pelican, ete. In the upper center is the well known composition of 


69 


> LL: 


70 


the owl being attacked by other birds. A profusion of flower baskets 
and garlands, grapevines, etc., is crowded in the space between the 
different figures. 

The composition of the center is of beautiful classic character. 
It illustrates one of the varied versions of the story of the youth of 
Bacchus. Bacchus was the son of Jupiter and Semele, the daughter 
of Cadmus, a personification of the earth. After his birth Bacchus 
was brought by Hermes to the nymphs of Nysa who brought him up. 

The composition shows the nymphs dancing and amusing the 
child. On the right one particularly beautiful figure is beating a 
tamburin to indicate the rhythm of the dance. In the foreground 
to the left we see the child Bacchus caressed by two swans. The 
view opens into a wide, beautiful classical landscape with a Greek 
temple to the right. To the left is an inlet of the sea with a sailing 
vessel and beyond the bay sloping hills with trees and various houses. 
In the clouded sky are the signs of the zodiac “Aries” and “Taurus”. 
The ram is the symbol of the first month of the year, the spring 
equinox ; the bull. is the symbol for the following month. 

This beautiful tapestry is in excellent state of preservation, except 
considerable repair in the lower border. Signed in the lower right 
“Tan Raes.”’ 

Height, ro feet 10% inches; width, 12 feet 11 inches. 


71 


ALAA ARRIBA EAR A 6 SRE REI 


ETTY RES EARCH INSTITUTE 


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01663 1752 


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